Baldwin, perhaps best known for his regular gig as bassist in experimental Brooklyn rockers Dirty Projectors, brings a similar sense of exploration to his solo recordings. But where the Projectors favor a dense sound, stitching together instruments into ornate, mini-symphonies, Baldwin's material tends to be comparatively pared-down, built largely around his elastic voice and his similarly rubbery standup bass work.

Andy Downing, Columbus Alive

Baldwin, perhaps best known for his regular gig as bassist in experimental Brooklyn rockers Dirty Projectors, brings a similar sense of exploration to his solo recordings. But where the Projectors favor a dense sound, stitching together instruments into ornate, mini-symphonies, Baldwin's material tends to be comparatively pared-down, built largely around his elastic voice and his similarly rubbery standup bass work.

It's a stripped-down presentation that should fare well in Rockmill's cozy confines - an intimate setting where his pliable falsetto should pack an even heftier punch.